"Bouzouki The bouzouki (; also ""buzuki""; , ; plural ""bouzoukia"" ) is a musical instrument popular in Greece that was brought there in the 1900s by Greek immigrants from Turkey, and quickly became the central instrument to the rebetiko genre and its music branches. A mainstay of modern Greek music, the bouzouki has a flat front, usually heavily inlaid with mother-of-pearl. The instrument is played with a plectrum and has a sharp metallic sound, reminiscent of a mandolin but pitched lower. There are two main types of bouzouki: the ""trichordo"" (""three-course"") has three pairs of strings (known as courses) and"
"Today, zouk is the French Antilles compas, also called zouk-love In Africa, Kassav's zouk and the Haitian compas they featured, gained popularity in francophone and lusophone countries. It is also particularly popular in North America in the Canadian province of Quebec. Bouyon (Boo-Yon) is a form of popular music of Dominica, also known as jump up music in Guadeloupe and Martinique. The best-known band in the genre is Windward Caribbean Kulture (WCK), who originated the style in 1988. Over the years, thanks to inter-trade with the Dominicans and the mass participation of Guadeloupe at the World Creole Music Festival, the"
"World War II, made a comeback in the 1980s. The Guadeloupean-administered island of Marie-Galante has also had a vital and well-documented balakadri tradition. As in Martinique (and the Creole-speaking islands of Saint Lucia and Dominica), kwadril dances are in sets consisting of proper quadrilles, plus creolized versions of 19th-century couple dances: biguines, mazouks and valses Créoles. Though Guadeloupe and Martinique are most frequently known only for the internationally renowned zouk style, the islands have also produced popular musicians in various updated styles of traditional biguine, chouval bwa and gwo ka. The world-famous zouk band Kassav' remains easily the most famous"
"bouzouki players may play single note melody instead of harmonizing accompaniment, but in live acoustic sessions with more than two or three players but it is difficult to produce sufficient volume to be heard over drumming and the piercing sound of fiddles and penny whistles. Although not traditional, the Irish bouzouki has found a home in the modern Irish traditional music scene. The Greek bouzouki was introduced to Irish traditional music in the late 1960s by Johnny Moynihan and then popularised by Dónal Lunny, Andy Irvine, and Alec Finn. Today's Irish bouzouki (usually) has four courses of two strings (usually)"
"been introduced to the French Caribbean in the late 1800s. In the 21st century in Brazil and the Afro-Caribbean diaspora, ""zouk"" (and its progenitor-band Kassav’) remains very popular. In popular 20th century folk dancing in France, the Polish/classical-piano (see Chopin) ""mazurka"" evolved into ""mazouk"", a dance at a more gentle pace (without the traditional 'hop' step on the 3rd beat), fostering more-intimate dancing and associating mazouk with a “seduction” dance (see also tango from Argentina). This “sexy” style of mazurka has also been imported to “balfolk"" dancing in Belgium and the Netherlands, hence the name ""Belgian Mazurka"" or ""Flemish Mazurka""."
"Jean-Baptiste. Zouk is a style of music originating in Guadeloupe and Martinique during the 1980s. It has many influences, from Haitian, calypso, beguine and compas. The conventional zouk sound has a slow tempo, and it is sung in Antillean Creole, although it also has varieties that have developed in francophone Africa. It is popular throughout the French-speaking world, including France and Quebec. Early forms of Afro-Caribbean music in Jamaica was Junkanoo (a type of folk music now more closely associated with The Bahamas), the quadrille (a European dance) and work songs were the primary forms of Jamaican music at the"
"(or slightly radiused) tops and backs. The Irish bouzouki has also become integrated into some other western European musical traditions over the past forty years. Popularly used in the music of Asturias, Galicia, Brittany, Spain, and even the Scandinavian countries (in fact, there is even now a new Nordic branch of the instrument, having been modified further to suit the unique requirements of those musics). The instrument's role is usually a combination of interwoven accompaniment (usually a mix of open-string drones, two note intervals, bass lines and countermelody) and melodic play. Instrumental arrangements by musicians such as Ale Möller from"
"bouzouki playing has a strong emphasis on countermelody. He currently collaborates with his wife Julie Fowlis, playing mainly Scottish Gaelic music and song. The Doorley brothers joined Danú in 1996. Donnchadh Gough, another founding member of the band, plays both bodhran and uillean pipes. He guests on Bodhran with Danú in Ireland and Europe. Amy Richter has performed on Bodhran with Danú during US tours since Dec 2017. Until 2016, the band's lead singer was Muireann Nic Amhlaoibh, who replaced earlier singer Ciarán Ó Gealbháin, a tenor who left to finish his education in May 2003, and who had in"
"Music of the Republic of the Congo The Republic of the Congo is an African nation with close musical ties to its neighbor, the Democratic Republic of the Congo. The Democratic Republic of the Congo's homegrown pop music, soukous, is popular across the border, and musicians from both countries have fluidly travelled throughout the region playing similarly styled music, including Nino Malapet and Jean Serge Essous. Brazzaville had a major music scene until unrest in the late 1990s, and produced popular bands like Bantous de la Capitale that played an integral role in the development of soukous and other styles"
"and is the only band that continues to include zouk béton in its repertoire, though to a lesser extent. Zouk Zouk is a musical style originating from the Caribbean islands of Guadeloupe and Martinique and popularized by the French Antillean band Kassav' in the 1980s. Very rapid in tempo, the style lost ground in the 1980s due to the strong presence of Compas / kompa and kadans, the main music of the French Antilles. Today, zouk is the French Antilles compas (Kompa), also called zouk-love. The Creole word ""zouke"", ""sekwe"", or ""zouke"", etc. from the French verb ""secouer"" meaning ""shake"
"United States is an example, as are numerous communities in Jamaica, Suriname and French Guiana. The Surinamese, Guyanese, and French Guianan escaped slaves managed to hide in the dense jungles of the area, and formed communities like the Aluku, Saramaka and Ndjuka. Their traditional sung stories are called ""mato"", and there is also a kind of popular Maroon music called aleke. Traditional dances include ""awasa"", a women's social dance. The Jamaican Maroons are known for instruments like the ""abeng"", a kind of horn. Maroon music Maroon Music is a genre involving people of African descent that were not born on"
"of Cuban music) influenced by traditional music and jazz. Soukous arose from this fusion of styles, popularized as dance music by a number of different orchestras in the 1950s and 60s. Music of the Republic of the Congo The Republic of the Congo is an African nation with close musical ties to its neighbor, the Democratic Republic of the Congo. The Democratic Republic of the Congo's homegrown pop music, soukous, is popular across the border, and musicians from both countries have fluidly travelled throughout the region playing similarly styled music, including Nino Malapet and Jean Serge Essous. Brazzaville had a"
"in America, in 1926, when the Peloponnesian musician Konstandinos Kokotis (1878 – after 1948) recorded two Peloponnesian folk songs with the accordionist Ioannis Sfondilias. This recording, reissued for the first time in 2013, reveals a ""folk"" melodic style never recorded before or since. The first recording to feature the instrument clearly in a recognisable somewhat more ""modern"" melodic role, was made in 1929, in New York. Three years later the first true bouzouki solo was recorded by Ioannis Halikias, also in New York, in January 1932. In Greece the bouzouki had been allowed into a studio for the very first"
"Zouk Zouk is a musical style originating from the Caribbean islands of Guadeloupe and Martinique and popularized by the French Antillean band Kassav' in the 1980s. Very rapid in tempo, the style lost ground in the 1980s due to the strong presence of Compas / kompa and kadans, the main music of the French Antilles. Today, zouk is the French Antilles compas (Kompa), also called zouk-love. The Creole word ""zouke"", ""sekwe"", or ""zouke"", etc. from the French verb ""secouer"" meaning ""shake intensely and repeatedly"" was used by Haitian artists who toured the French Antilles during the late 1970s and 1980s."
"completes the ensemble. Balakadri Balakadri (called balkadri or kadri) is a traditional quadrille music that was performed for balls on the Caribbean island of Guadeloupe. Guadeloupean balakadri persisted into the 20th century and, despite disruption after World War II, made a comeback in the 1980s. The Guadeloupean-administered island of Marie-Galante has also had a vital and well-documented balakadri tradition. As in Martinique (and the Creole-speaking islands of St Lucia and Dominica), kwadril dances are in sets consisting of proper quadrilles, plus creolized versions of 19th-century couple dances: biguines, mazouks and valses Créoles. To save the Balakadri, an association was created:"
"China. It is typically used as a solo instrument, and is often featured in film scores; it is sometimes also heard in popular music recordings. Although the ""bawu"" is still predominantly performed in China, it has in recent years been adopted by European composers and performers. Rohan Leach from England, Raphael De Cock from Belgium, Seán Mac Erlaine from Ireland and Herman Witkam from the Netherlands have all taken the instrument in new directions. The musician Guo Yue, who now resides in England, has long promoted the instrument and plays it on all of his recordings. This type of instrument"
"Gumbe Gumbe, also ""goombay"" or ""gumbay"", is a West African style of music found in countries such as Sierra Leone and Guinea-Bissau. Sierra Leonean gumbe music is indigenous to the Sierra Leone Creole people and was derived from the Jamaican Maroon ancestors of the Creole people. It is likely that the etymology of African-American musical genres goombay of the Bahamas originates in Guinea-Bissau gumbe. Gombey music from Bermuda and the Jamaican square maroon drum called goombay could also be related. Gumbe is a specific genre, mostly influenced by the fast tempo zouk style called ""zouk béton"" (music of the French"
"many African countries, much of the popular music there is called jazz, though it has little resemblance to the African American genre of that name. There has been a push in recent years to focus on revitalizing the Botswana music industry instead of purchasing foreign releases. Most popular music in Botswana still comes from South Africa, United States, Europe or elsewhere in Africa. Gumba-gumba is a form of modernized Zulu and Tswana music, mixed with traditional jazz; the word ""gumba"" comes from township slang for party. Botswana hip hop crews include The Wizards, a long-standing crew that fuses hip hop"
"Music of Botswana Botswana is an African country made up of different ethnic groups, although the Batswana are the majority of the population. Music is a large part of Botswana culture, and includes popular and folk forms. Botswana church choirs are common nationwide. Music education is an essential component of the Botswana educational system, and children of all ages are taught traditional songs and dances. Native Tswana were the earliest inhabitants of the land that is today known as the Botswana and played its first music. Beginning in the 19th century, immigrants from the United Kingdom began arriving in large"
"Music of Martinique The music of Martinique has a heritage which is intertwined with that of its sister island, Guadeloupe. Despite their small size, the islands have created a large popular music industry, which gained in international renown after the success of zouk music in the later 20th century. Zouk's popularity was particularly intense in France, where the genre became an important symbol of identity for Martinique and Guadeloupe. Zouk's origins are in the folk music of Martinique and Guadeloupe, especially Martinican chouval bwa, and Guadeloupan gwo ka. There's also notable influence of the pan-Caribbean calypso tradition and Haitian kompa."
"zouk was zouk béton, a fast tempo jump up carnival style of music originating from the Caribbean islands of Guadeloupe and Martinique, was popularized by the French Antilles Kassav' in the 1980s. However it was too fast, and the style lost ground in the 1980s due to the strong presence of kadans or compas, the main music of the French Antilles. The problem is that musicians from Martinique and Guadeloupe have wrongly labeled compas as ""zouk"" or ""zouk love"", creating a sense of confusion in Africa, Cape Verde, Angola, Brazil, Portugal and other places. Haitian musicians taught Antilleans how to"
"Music of Guadeloupe The music of Guadeloupe encompasses a large popular music industry, which gained in international renown after the success of zouk music in the later 20th century. Zouk's popularity was particularly intense in France, where the genre became an important symbol of identity for Guadeloupe and Martinique. Zouk's origins are in the folk music of Guadeloupe and Martinique, especially Guadeloupan gwo ka and Martinican chouval bwa, and the pan-Caribbean calypso tradition. Carnival is a very important festival in Guadeloupe and Martinique. Music plays a vital role, with Guadeloupean gwo ka ensembles, zouk music and guadeloupean big bands marching"
"on ""zouk"". Edmond Mondesir is a popular bélé musician from Martinique. Chouval bwa is a kind of Martinican traditional music, featuring percussion, bamboo flute, accordion, and wax-paper/comb-type kazoo. The music originated among rural Martinicans, as a form of celebratory holiday music played to accompany a dance called the ""manege"" (which translates as ""merry-go-round""; ""chouval bwa"" is a Creole version of ""cheval bois"", which refers to the wooden horses seen on merry-go-rounds). Chouval bwa percussion is played by a drummer on the ""tanbour"" drum and the ""ti bwa"", a percussion instrument made out of a piece of bamboo laid horizontally and"
"bwa (tibwa) and syak, a bamboo rasp one metre long, grooved on both top and bottom, held with one end on the belly and the other on a door or wall and scraped with both hands. Though Martinique and Guadeloupe are most frequently known only for the internationally renowned zouk style, the islands have also produced popular musicians in various updated styles of traditional biguine, chouval bwa and gwo ka. The world-famous zouk band Kassav' remains easily the most famous performers from the island. Chouval bwa has been popularized by Claude Germany, Tumpak, Dédé Saint-Prix, and Pakatak. Martinique is also"
"Balakadri Balakadri (called balkadri or kadri) is a traditional quadrille music that was performed for balls on the Caribbean island of Guadeloupe. Guadeloupean balakadri persisted into the 20th century and, despite disruption after World War II, made a comeback in the 1980s. The Guadeloupean-administered island of Marie-Galante has also had a vital and well-documented balakadri tradition. As in Martinique (and the Creole-speaking islands of St Lucia and Dominica), kwadril dances are in sets consisting of proper quadrilles, plus creolized versions of 19th-century couple dances: biguines, mazouks and valses Créoles. To save the Balakadri, an association was created: F.R.E.G.A.Q.(Regional Federation of"
"""Pyrichios"", and ""Kordakas"" . Some of these dances have their origins in the ancient period and are still enacted in some form today. A range of domestically and internationally known composers and performers across the musical spectrum have found success in modern Greece, while traditional Greek music is noted as a mixture of influences from indigenous culture with those of west and east. A few Ottoman elements can be heard in the traditional songs, ""dhimotiká"", as well as in the modern bluesy rembétika music. A well-known Greek musical instrument is the bouzouki. ""Bouzouki"" is a descriptive Turkish name, but the"
"instrument ensemble called a ""jing ping"" band. Balakadri (called balkadri or kadri) is a traditional quadrille music that was performed for balls on the Caribbean island of Guadeloupe. Kwadril dances are in sets consisting of proper quadrilles, plus creolized versions of 19th-century couple dances: biguines, mazouks and valses Créoles. Instrumentation consists of variable combinations of accordion, guitar, violin, tanbou dibas, chacha (either a single metal cylinder as in Martinique, or a spherical calabash without a handle, held in both hands), malakach (maracas), triangle, bwa (tibwa) and syak, a bamboo rasp one metre long, grooved on both top and bottom, held"
"style, employing instruments of the Ottoman tradition. During the second half of the 1930s, as rebetiko music gradually acquired its own character, the bouzouki began to emerge as the emblematic instrument of this music, gradually ousting the instruments which had been brought over from Asia Minor. The bouzouki was apparently not particularly well-known among the refugees from Asia Minor, but had been known by that name in Greece since at least 1835, from which year a drawing by the Danish artist Martinus Rørbye has survived. It is a view of the studio of the Athens luthier Leonidas Gailas (Λεωνίδας Γάϊλας),"
"clubs . Indian music draws heavily from rural North Indian and some of the Southern states in India. Most popular are Bhajans - a devotional music based accompanied by harmonium and dholak (drums). Many Indians now also export bhajan CDs for large Fiji Indian diaspora in Canada, United States, Australia and New Zealand. Jazz too, has become increasingly popular as cultural horizons have broadened. According to Qawaali/Ghazal singer Ustad Sheikh Mohyudean (August 1, 1920 – January 1, 2015) and Indian Classical musician Cassius Khan, the Qawaali has undergone a major transformation in Fiji. Because of the lack of classically trained"
"whom the artist describes as ""Fabricatore di bossuchi"". The drawing clearly shows a number of bouzouki-like instruments. Despite this evidence, we still know nothing of the early history of instrument's association with what came to be called rebetiko. Recent research has however uncovered a number of hitherto unknown references to the instrument during the 19th and early 20th centuries, including evidence of its established presence in the Peloponnese. Although known in the rebetiko context, and often referred to in song lyrics, well before it was allowed into the recording studio, the bouzouki was first commercially recorded not in Greece, but"
"dance. The religion of Yoruban origin is known as ""Lucumí"" or ""Regla de Ocha""; the religion of Congolese origin is known as ""Palo"", as in ""palos del monte"". There are also, in the Oriente region, forms of Haitian ritual together with its own instruments, music etc. In Lucumi ceremonies, consecrated batá drums are played at ceremonies, and gourd ensembles called abwe. In the 1950s, a collection of Havana-area batá drummers called Santero helped bring Lucumí styles into mainstream Cuban music, while artists like Mezcla, with the lucumí singer Lázaro Ros, melded the style with other forms, including zouk. The Congo"
"Alec Finn and Mick Conneely are the only notable players still using a Greek bouzouki, one of the older style ""trixordo"" three course (six string) instruments tuned DAD. A frame drum, usually of bent wood and goatskin, the bodhrán is considered a relatively modern addition to traditional dance music. Some musicologists suggest its use was originally confined to the wrenboys on St. Stephen's Day and other quasi-ritual processions. It was introduced/popularised in the 1960s by Seán Ó Riada (although there are mentions of ""tambourines"" without zils being played as early as the mid 19th century), and quickly became popular. Notable"
"Perhaps the most enduring style of intimate dancing music of this origin moved ""zouk"" from the 1980s-2000s into its wildly popular (especially in Brazil and Africa) slow-dancing variant called ""zouk love"", which remains a staple of French-Caribbean dance venues in Paris and elsewhere. Mazurkas constitute a distinctive part of the traditional dance music of County Donegal, Ireland. As a couple's dance, it is no longer popular. The Polish dance entered the British Isles in the 1840s, but is not widely played outside of Donegal. Unlike the Polish mazurek, which may have an accent on the second or third beat of"